Constructions
{Most of Jim's art has not been professionally photographed; we're working on it.}
James E. Brewton. "Key to Birmingham." 1964, mixed media construction with souvenir key to city of Birmingham, Ala., 12" x 12" (not including key). Private collection.
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On June 7, 2020, we posted this image of "Key to Birmingham" on social media to participate in saying the names (#saytheirnames) of murdered Black Americans (#BlackLivesMatter). Philadelphia artist and poet Theodore A. Harris responded: "Thanks for this, a work Clement Greenberg would hate, because it's not just about the surface. The work is dealing with what's beneath the Surface Politics of aesthetics and formalism. His subject matter was about facing the world not retreating from it. Artworks are poetic keys to doors of which the locks are always being changed by the slum landlords whose minds are vacant. That blood splattered, grayish-silver square looks like a bloodthirsty guillotine or a window shade where we the viewer can see it is dark outside--and if that's the case then this work positions us on the inside of the bombed church, where we pay the price of the ticket for our faith in humanity."
Visit Theodore A. Harris's website here.
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James E. Brewton. "Spiritis Fermati pour W.C. Fields Rx ALFRED JARRY." n.d., eye cup, bottle and label. Private collection.
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James E. Brewton. "Ubu's Military Mind." 1962, mixed media metal construction, including some of Brewton's medals from service in the Korean War, 35" x 14". Private California collection. Photo: Elena Bouvier.
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James E. Brewton. "Ubu's Military Mind" (back). The torn remnants of an exhibition label can be seen at top left.
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James E. Brewton. "The Longest Crayola Drawing in the World." 1965, drawing in wood box (can be turned).
James E. Brewton. "Three Stander Stoppages for Wall and Floor." 1967, wood, plexiglas, mixed media, 13.5" x 42.5" x 2.5". Private collection.
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James E. Brewton. "Irony Bored." 1967, private collection. This piece is one of several constructions Brewton created with accompanying diagrams. The drawing for "Irony Bored" is titled "Sleeping Irony Bored with Advice."
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James E. Brewton. "Irony Bored." (side view) 1967, private collection.
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James E. Brewton. "Kiss Cage." 1967, wooden cage with aluminum plate and coin. Brewton's accompanying drawing, "Notes and Diagram for Kiss Cage without Bahrs," 1967, has been stabilized but is damaged.
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James E. Brewton. "Kiss Cage." (top view) 1967, private collection.
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James E. Brewton. "Discourse on Thinking." 1966, mixed media construction with bottle, batteries, Rudolf Serkin autograph. Private collection.
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James E. Brewton. "Discourse on Thinking." 1966, mixed media construction with bottle, batteries, Rudolf Serkin autograph. Private collection.
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James E. Brewton. "Automated Autograph." n.d., steel, 33" x 11" x 1.5". This artwork is missing; we believe at was shown in the exhibition, "Society for the Commemoration of Festivals and Fetishes," 15 May-7 June, 1967, Socrates Perakis Gallery, Philadelphia.
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James E. Brewton. "Sea Trap." 1966, coat hooks, draftwood, 22" length; framed certificate, 11.5" x 9". Private collection. Installation view at Brewton's solo exhibition, "Graffiti Pataphysic, for all mankind," 21 March-1 May, 2014, Slought, Philadelphia.
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This piece is missing; image is
from a transparency found in Brewton's studio.